She bears the name of two French firms, one famed for its glass and crystal designs, the other for its china. Her father was the Belle Epoque jeweller René Lalique, who invented the opalescent glass that dazzled Paris fashion and European royalty, and still appeals to collectors. Her grandfather, on her mother's side, was the sculptor Auguste Ledru, a friend of Rodin. Her husband, the photographer Paul Burty Haviland, belonged to a family of china manufacturers from New York who moved to Limoges. Her brother-in-law, the painter Frank Burty Haviland, was a friend of Picasso.

Everything destined Suzanne Lalique-Haviland (1892-1989) to become an artist, and that is just what she did. She worked in fields as varied as glass, china, fabric, water colours, theatre costumes and sets, all of which feature in the Decor Reinvented exhibition. The show first opened at the Lalique Museum at Wingen sur Moder, near Strasbourg, but has relocated to the Musée des Beaux Arts in Limoges. It provides a good overall view of her work, paying tribute to her decorative talents, which went largely unnoticed in the shadow of her illustrious father.

From the age of 17 Mademoiselle Lalique, as she was often known, contributed to the development of the family glassworks, at Wingen, without ever signing the pieces she designed, says Nicole Maritch-Haviland, 89, the artist's daughter. The exhibition throws light on the connections between Lalique's designs and her father's creations. In some cases there seems good reason to wonder who inspired whom.

"For 40 years she also ruled over the sets and costumes at the Comédie Française, starting in 1937 … At the same time she went on painting, exhibiting and designing patterns for vases, screens, jewels, plates and drawings," Maritch-Haviland adds. Like her father, Lalique was self-taught and "knew how to do almost everything", her daughter says. "She was amazingly creative and very ingenious, with a remarkably modern outlook." The writer Paul Morand once said of Lalique senior that he even knew how to make his own shoes. The same applied to his daughter.

She was born in 1892, at the family home in Rue Thérèse, Paris, a step away from the Comédie Française. It was here that her mother, Alice Ledru, and father worked, surrounded by top jewellers, writers and actors, such as Sarah Bernhardt, Cécile Sorel, Liane de Pougy and Colette, but also Rodin.

When, at the peak of her father's career, they moved into a mansion in the fashionable eighth arrondissement, Lalique missed the frequent visits of theatrical stars. The sudden death of her mother in 1909 precipitated Lalique into the world of decorative arts. Her father, deprived of the inspiration her mother had provided, turned to his daughter for her opinion of a sketch, or the outline for a vase or ornament. He bought her water colours and pastels, paint and canvas, encouraging her to draw whatever she fancied, and assisting her when she exhibited her first water colours in Paris in 1913.

Was he perhaps a little in love with his daughter? "Certainly," Maritch-Havilland confirms. He put Lalique to work, because he could not entertain the idea of her indulging in idleness or wasting her time at society balls with Paul Morand and Jean Giraudoux, both of whom were infatuated with her.

From 1910 to the financial crash in 1929 she worked solidly for the Lalique brand, designing perfume bottles and powder boxes, mirrors, stained glass and vases with acid-etched geometrical designs. She found inspiration in Japanese, African and pre-Columbian art, on which her husband, Burty Haviland, whom she married in 1917, was a specialist.

For the fashion designer Jacques Doucet she created screens, with painted fabric or paper. She invented luxurious decors for trains and ocean liners too. In 1921 she designed glass and porphyry wall panels, and the fabric of the curtains for the first-class parlour on the SS Paris, sailing between Le Havre and New York.

Then in 1928 she decorated part of the Riviera Pullman Express from Paris to Nice, with sycamore panelling inlaid with silver-dust and pâte-de-verre flowers. She also designed the velvet on the seats and the carpet.

She even contributed to textile designs for the Lyon silk-weavers Tassinari et Chatel, and Prelle. The latter is still manufacturing the Branche de Prunus fabric she originally designed for the SS Paris.

After the 1929 crash, which ruined her husband, she slipped out of her father's grip and devoted more of her time to Haviland Limoges china, theatre sets and costumes, and painting. Her daughter recalls a big bowl of dye in her studio, a sort of "witches' brew from which she would conjure up marvels. Colours were all that mattered to her".